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Music for Cardinal Wolsey
Richard Pygott(c.1485-1549) Missa Veni sancte
spiritus Gloria [10:07] Credo [10:53] Sanctus [10:29] Agnus Dei [9:10] John Mason(b.?-1548) O rex gloriose
[11:34]
Christ Church Cathedral Choir, Oxford/Stephen
Darlington.
rec. Dorchester Abbey, Oxfordshire, 21-22
March 1994. DDD.
NIMBUS
NI5578 [52:20]
CD1 Thomas Ashwell(c.1482-after 1513, perhaps 1527) Missa
Jesu Christe (6 parts) (before 1513?)
Gloria [12:59] Credo [11:16] Sanctus [10:19] Agnus Dei [8:59]
CD2 Hugh Aston(c.1485-1558) Missa Videte manus
meas (6 parts) Gloria [13:25] Credo [12:39] Sanctus [12:34] Agnus Dei [10:31]
Christ Church Cathedral Choir, Oxford/Stephen
Darlington.
METRONOME
MET1030/1031 [43:33+49:49]
If you have read my attempts to wax
lyrical about the masters of Tudor church
music – the likes of Taverner, Tallis
and Byrd – and wondered what the run
of the mill sounded like, these two
Christ Church recordings of music associated
with the college’s early history should
go some way towards providing an answer.
I don’t mean to imply that this music
is mediocre or sub-standard – the works
on the Nimbus CD, in particular, are
hardly that – merely that it doesn’t
reach the heights of inspiration, though
it does help us to set the masterpieces
in perspective.
By an understandable coincidence, both
companies have chosen as front covers
a detail from the same portrait of Wolsey
as a fat, florid and prosperous prince
of the church, painted by Sampson Strong
in 1526 and showing in the background
Cardinal College (Christ Church), where
it now resides in the picture gallery
– other contemporary illustrations depict
him as a much leaner follower of the
renaissance New Learning.
Richard Pygott was for thirteen years
master of the choristers to Cardinal
Wolsey’s private chapel, an establishment
which rivalled the Chapel Royal; he
was thus connected with the foundation,
in 1525, of Wolsey’s Cardinal College,
Oxford, renamed Christ Church after
his downfall four years later and affectionately
known as The House from its Latin name,
Ædes Christi. A Gentleman
of the Chapel Royal after Wolsey’s disgrace,
little of his music survives, mostly
sacred pieces. The Concise Grove
describes these as ‘of high quality,
combining complex textures and beauty
of melodic line’, a description from
which I would not demur except to warn
that the music does not, for me, match
the high quality of much of what is
found in the earlier Eton Choirbook
(c.1500) or the work of his contemporary,
John Taverner. The Oxford Companion
to Music describes Pygott’s well-known
carol Quid petis, o fili? as
‘exquisite’, a description which would
also fit his music on this Nimbus recording.
Like the two masses on the Metronome
set, Pygott’s Missa Veni sancte spiritus
is of the type known as the short Tudor
mass, without the opening Kyrie eleison.
It is an elaborate work but the modern
counterparts of its (probable) original
singers cope handsomely with any difficulties.
John Mason, who held a similar post
at Magdalen College from 1508 to 1510,
stood in for John Taverner at Cardinal
College after his resignation in 1529.
In 1521 Mason had been a member of Wolsey’s
retinue, hence his appearance on this
CD. Only four works by him are known
to have survived; some of them appeared
on an Argo LP but this is, I believe,
his only appearance on CD. His motet
O rex gloriose is an attractive
piece and, like the Pygott, receives
a good performance from the Christ Church
choristers. Both here and in the Pygott,
I thought the singing more secure than
on some of the Nimbus recordings which
I have reviewed recently.
The connection with Thomas Ashwell (or
Ashewell) and Hugh Aston (or Ashton)
is more tenuous but the inclusion of
these two masses in the Forrest-Heyther
partbooks, a compilation initially copied
for use at Cardinal College, makes it
at least probable that they were performed
there. Though they occur in the second
part of the book, alongside music of
much later date by Tye, Sheppard and
Allwood, their style indicates that
they may well have been composed before
1525.
The Oxford Companion to Music
and Concise Grove are silent
on the subject of Thomas Ashwell, but
his presence as a chorister at Windsor
from 1491 to 1493 gives a clue to the
date of his birth and it has been suggested
that he was John Taverner’s teacher.
The Missa Jesu Christe, in six
parts, based on the short respond at
Prime from Easter week until Trinity
Sunday, is unlikely to have been composed
specifically for Cardinal College, since
its style suggests a date earlier than
1513, the last year in which we know
for sure that he was alive.
If Taverner had been his pupil, that
may suggest a reason for his inclusion
of Ashwell’s music in the partbook and
it has been suggested that Taverner’s
Missa Gloria Tibi Trinitas was
influenced by the other Ashwell mass
in the collection, the Missa Ave
Maria. What a shame, therefore,
that the spare capacity on the Metronome
set was not used for a performance of
that work, which would have allowed
us to judge how close the similarity
is. As it is, less than 94 minutes is
very short playing time for a 2-CD set.
Alternatively, I should have liked to
have heard Aston’s two antiphons Gaude
virgo mater Christi and Ave Maria
divae matris Annae, which I have
seen described as his finest music.
Hugh Aston either turned down Wolsey’s
offer of the post at his college and
chose to remain at the collegiate church
of St Mary, Leicester, until its dissolution
in 1548, or was an unsuccessful applicant
for the post. The date of his birth
is inferred from the date of his supplication
for the degree of BMus in 1510. Seven
large-scale works are credited to him,
but he is best known for his keyboard
piece A Hornepype (British Library
MS BM R.App.58); only four of his vocal
works survive complete.
The cantus firmus of the mass
Videte manus meas is an antiphon
for Vespers of Easter Tuesday. (The
words also figure in the 13th-century
Officium peregrinorum or Pilgrims’
play.) This work, too, bears some similarities
to Taverner’s Missa Gloria tibi Trinitas,
especially in the Gloria and
Credo, but the similarities also
serve to point the superiority of Taverner’s
composition.
If you have yet to become familiar with
the music of Taverner, I recommend that
you begin there, with another Christ
Church recording, Ave Dei Patris
Filia:Music for Our Lady and
Divine Office (Nimbus NI5360 – see
review),
the Tallis Scholars’ account of the
Mass Gloria Tibi Trinitas (Gimell
CDGIM004) or with one of the excellent
Hyperion Helios budget-price reissues
of his Masses: the Western Wynde
mass would be a good place to start
(The Sixteen on CDH55056 – see review).
Otherwise, I’d recommend the Pygott
recording as the next port of call after
Taverner, but the masses of Ashwell
and Aston are accomplished 6-part works
and they also receive fine performances.
The composition of the Christ Church
choir today is still equivalent to that
of Wolsey’s original foundation; if
the shade of their ill-fated founder
is still hovering around The House,
I am sure that he would have found the
singing fully the equal of their sixteenth-century
predecessors. He might have expressed
a slight preference for the singing
and the music on the Nimbus recording,
but there isn’t a great deal in it.
He would have had to travel a few miles
down the road to Dorchester to hear
the making of that Nimbus recording.
I have found some of the earlier recordings
made in Dorchester Abbey variable, but
I have very few reservations about the
sound on this CD. I have no information
about the recording venue of the Metronome
CDs.
Both recordings are available from eMusic
in good quality mp3 sound at bit-rates
ranging from an acceptable 184kbps to
a more than adequate 320kbps. (But why
are all the tracks not at the highest
bit-rate?) I add the usual proviso that
younger, sharper ears may be less satisfied.
The Metronome CDs need to be played
at a slightly higher volume than the
Nimbus to sound well – about 3dB higher
than my usual setting sounded about
right.
What you won’t get from a download,
however, is any information about the
composers and their music, which is
fairly crucial for works of this sort.
Nor do any alternative sources for downloading
provide access to any notes: the iTunes
versions don’t even allow you to copy
the covers of the CDs and the version
of the Nimbus CD on classicsonline,
like the eMusic versions, offers only
the cover shot.
Theclassicalshop offers the ability
to download the booklets of notes for
recordings of The Sixteen in similar
repertoire on the Coro label. Best of
all, Gimell, who offer their own downloads
from their website, provide the full
set of notes and CD inlays; until someone
offers these Christ Church recordings
with something similar, my recommendation
of them in download form must be muted.
I could contact Nimbus and Metronome
and request, as a reviewer, the relevant
booklets, but that would be cheating
– when reviewing a recording I like
to put myself in the position of the
potential purchaser as far as possible.
This is something to which eMusic and
the companies who license their recordings
to them need to give some serious thought:
very few potential purchasers will know
much, if anything, about this music
– even I had to dig around to find some
of the information which I have given
above. Perhaps subscribers could opt
to download the notes for the price
of an extra track from their monthly
allocation. Downloading is becoming
an increasing reality for the record
companies; if they don’t wish to offer
the notes free of charge – and they
have to earn a living like everyone
else – why not charge a small extra
fee to download them from the website?
The words of the ordinary of the mass,
Gloria, Credo, etc., are
easy enough to come by, but we really
need to have the text of O rex gloriose,
a Compline prayer to be numbered among
the saints in glory:
O Rex gloriose inter sanctos tuos,
qui semper es laudabilis et tamen
ineffabilis: tu in nobis es, Domine,
et nomen sanctum tuum invocatum est
super nos: ne derelinqua nos, Deus
noster ut in die judicii nos collocare
digneris inter sanctos et electos
tuos, Rex benedicte.
[O King of glory among your saints
you are always to be praised, yet
you are beyond any words that we may
speak; you are within us, O Lord,
and your holy name has been invoked
to protect us: leave us not, our God,
so that in the day of judgement you
may graciously call us to be among
your saints and chosen ones, O blessed
King.]
In Primers, the prayer often follows Nunc
dimittis and O bone Jesu, a
favourite text with early Tudor composers
(Fayrfax, etc.) In the Sarum Breviary,
the form of the daily offices of the Roman
rite most frequently employed in pre-Reformation
England, it is prescribed as the antiphon
to Nunc dimittis on the feast of
the Holy Name.
The words of Jesu Christe and Videte
manus meas, helpfully intoned before
the openings of the Ashwell and Aston
masses respectively are less important,
but it would again be worthwhile to have
these. Jesu Christe is the short
respond at Prime in Paschaltide:
Jesu Christe, fili dei vivi, miserere
nobis. Alleluia. Qui resurrexisti
a mortuis, miserere nobis. Alleluia.
Gloria Patri et Filio et Spiritui
Sancto.
[O Jesus Christ, Son of the living
God, have mercy upon us. Alleuia.
You who rose from the dead, have mercy
upon us. Alleluia. Glory be to the
Father and to the Son and to the Holy
Spirit.]
Videte manus meas repeats the
words of the risen Jesus to his disciples,
and particularly to ‘doubting’ Thomas:
Videte manus meas et pedes meos quia
ego ipse sum, Alleluja, Alleluja.
[Behold my hands and my feet, for I
am myself. Alleluia.]
These downloads come at a fraction of
the cost of the discs – all thirteen
tracks for little more than £3 from
eMusic – but, even with the information
that I have been able to offer, I must
recommend all but the best-informed
specialists in early sixteenth-century
music to buy the CDs. (If, that is,
the Metronome set is still available
– it’s currently showing as out of stock,
which may make the download the only
option.)
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